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| JULIAN ALDEN WEIR 
A MEMORIAL EXHIBITION 











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COPYRIGHT BY 


THE METROPOLITAN MUSEUM 


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OF ART 





MARCH, 1924 






















COMMITTEE ON THE EXHIBITION 


_ Francis C. Jones, Chairman 

Bryson Burroughs 

P Emil Cattsen 

ee Ee Daniel Chester French 

_ Childe Hassam 

fe 7 ie _H. Bolton Jones 
Edward Robinson 


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LENDERS TO THE EXHIBITION 


Mrs.H.M. Adams 
Anonymous 

Frank L. Babbott 

Charles Lansing Baldwin 
John F. Braun 

Mrs. William E. Carlin 

Emil Carlsen 

The Carnegie Institute 
Edwin S.Chapin 

The Art Institute of Chicago 
The Detroit Institute of Arts 
Miss A.M.Dodsworth 
Mrs.George Page Ely 
Ferargil Galleries 
Mrs.Marshall Field, Senior 
Mrs.James Wall Finn 
Mts.Charles E.Greenough 
Childe Hassam 

The Lotos Club 

William Macbeth 


Vil 


LENDERS TO THE EXHIBITION 


Albert E. McVitty 
The National Academy of Design 
The National Gallery of Art 
John H. Niemeyer 
The Phillips Memorial Gallery 
F. K. M. Rehn 
Horatio S. Rubens 
Paul Schulze 
Edwin C. Shaw 
Mrs. Robert C. Vose 
Miss Dorothy Weir 
Colonel H. C. Weir 
Mrs. J. Alden Weir 
Charles V.Wheeler 
_ Mrs. Lloyd Williams 
Colonel C. E. S. Wood 


The Worcester Art Museum 


Vill 


PREFACE 


In assembling this exhibition of the works in various media 
of the late}. ALDEN WEIR the Trustees of the Museum 
continue their policy of reviewing and paying respect to the 
achievement of outstanding American men of art. Among 
the memorial exhibitions of recent years have been those of 
Winstow Homer, THoomas Eaxins, WiLLt1AM M. 
Cuasz, Asppott H. Tuayer, aud GrorGe Fuuuer. 

For the success of the present exhibition the Museum 
gratefully acknowledges its indebtedness to the lenders, to 
Wixti1aM A. CorrFin for his admirable introduction, 
and to the members of the committee in charge, particularly 
to Emit CARLSEN, CHILDE HassaM, and FRancisC, 
Jones, who with the assistance of the Curator of Paintings 


chose and found the works which are now displayed. 


EpwarbD Rosinson, Director 


1x 








TABLE OF CONTENTS 


Committee on the Exhibition Vv 
Lenders to the Exhibition vil 
Preface ix 
Introductidn: 


Julian Alden Weir, P.N.A., 1852-1919 xiii 


Catalogue: 
Paintings in Oil I 
Water-Colors and Drawings 13 
Prints 15 
Index 17 
Illustrations 20 


xi 





JULIAN ALDEN WEIR 


1852-1919 


Ws speak of our artist friends who studied in Paris 
as having been of our own ‘‘generation,”’ for lack of 
a better word, or as of an earlier or a later one than 
ours. Weir belonged to the “‘generation’’ immedi- 
ately preceding mine and he had but recently returned 
to America when I went over in October, 1877. In 
my senior year at Yale I had spent spare time in the 
afternoons in the Art School, and a year after gradu- 
ating from the college I went back to New Haven 
and did some work in the Art School under the 
instruction of Professor Niemeyer and Professor 
John F. Weir, Alden Weir’s older brother. When 
finally it came to the point of deciding on some- 
thing for the future and my father had consented 
to my taking up seriously the dubious profession 
of painting, I went to New Haven before sailing 
and Professor Weir provided me with letters from his 
brother, whom I had not yet met, toVolk and Brush, 
who were still in Paris. Thus I might say Alden Weir 
was with meat the start, and when I returned 1n 1882 
and settled in New York, I soon met him and I well 


remember dinners at his house in Twelfth Street and 


xUll 


INTRODUCTION 


our association somewhat later in the Society of 
American Attists. 

One time when the Society’s Exhibition was to be 
held in the Yandell Gallery, Fifth Avenue and Nine- 
teenth Street, and I was there as secretary with a 
couple of our members, receiving works and piling 
them against the walls—not having much money 
we couldn’t hire workmen helpers—Weir came in 
and I told him I had seen a still life of his and how I 
liked it. ‘‘Oh, just wait, Coffin,”’ he said, ‘‘I’ve two 
others coming and they are very different. The scales 
have fallen from my eyes; I don’t see things as I did 
when I painted that still life you speak of; glad you 
like it, but wait till you see the others.’’ Well, Idid 
sec them and they were different; painted in a high 
key, very high for those days, and as good as the 
other one was in its way. I have always thought 
that this little incident gave a key to Weir’s career 
as a painter. He was an investigator, a searcher, a 
never wearying student. 

In his earlier years, here at home, he produced 
some notable canvases wherein we see individuality. 
His portrait of his father, Robert W. Weir, N.A. 
(elected 1829), painted in 1879, is an excellent ex- 
ample; a fine old gentleman, sturdy, poised, alert, 
and vigorous in a well-composed depiction. Portraits 
of this period show a restrained scheme of color with 


y= 


JULIAN ALDEN WEIR 


fine blacks and firm drawing. It is not like any other 
painter’s work, though in general aspect it recalls 
some of the impressive portraits of Frank Holl. The 
essentials are what Weir had learned in the Atelier 
Gérdme, at the Ecole des Beaux-Arts; and here it 
may be said that it is never germane to point out, 
as do some art writers, that a painter’s work does 
not resemble that of his master. None of the famous 
pupils of Géréme, Bonnat, and other great French 
masters have in any way imitated their work, but, 
having been taught to draw first of all, and to see 
rightly—the great secret of the art of painting— 
they have gone their way, following their own 
paths, searching and maturing. And to do that is 
precisely what their masters inculcated. Idle Hours, 
the large picture in the permanent collection of the 
Metropolitan Museum, painted in 1888, shows a 
further development in the art of Weir in that we 
see him depicting effects of light from alarge window 
enveloping the figures, and there are other works of 
note showing individuality; but the real Weir had 
at that time not yet appeared. However, strong 
emphasis must be laid on the beauty of his still life 
pictures: roses, generally white, in bowls; silver, 
china, and glass with them; occasionally tulips, 
sometimes fruits. He was painting these in the 
eighties and no survey of his painting could be com- 


XV 


INTRODUCTION 


plete without giving them prominence. They are 
interpretations of compelling charm, technically 
subtle, distinguished in color, never aggressive, pos- 
sessing simplicity and restraint, always beautiful. 

A complete list of Weir’s paintings known to his 
family in 1921, compiled by his daughter, Miss 
Dorothy Weir, is included in the memorial volume 
published by The Century Club, Julian Alden Weir, 
an Appreciation of his Life and Work; and as it 
gives periods in which different works were painted, 
the list is of value for reference or critical comment. 
It is not necessary here to classify step by step as the 
painter’s onward progress manifested itself, but we 
may mention some of the more notable pictures, 
some of those that indicate especially what he was 
finding out for himself and what he expressed as his 
insight grew. He always painted landscapes and 
phases of country life, at Branchville and at Windsor 
in Connecticut. He constantly painted portraits and 
figure subjects, some of the best of them in the earlier 
years and some of the best in the later. The Christ- 
mas Tree is a good example of his genre painting, 
showing true sensibility. The Donkey Ride, with 
the two little girls, his daughters, riding forward 
on donkeys in a landscape setting, is in many fe- 
spects the best of his figure subjects. It is a large 


canvas and it is unified throughout. The Green 


XVI 


JULIAN ALDEN WEIR 


Bodice (1898), in the permanent collection of the 
Metropolitan Museum, is adequate in every techni- 
cal sense and compares favorably with anything by 
anybody with a similar donnée. It is earnest and gen- 
uine and possesses a certain distinction that is a Weir 
hallmark. The Gray Bodice (4898 also) and The 
Black Hat are similarly distinguished. In Little 
Lizzie Lynch, with her black cat in her arms, and in 
Pussy Willows, a young woman with pussy willows 
in a bowl, a different sort of technical method ap- 
pears, pigment heavily loaded in lumps; but that 
was a phase not long continued. 

The night pictures, street subjects, are notable and 
belong to a comparatively late period. The motives 
were observed from the painter’s apartment at Park 
Avenue and Fifty-eighth Street, looking down on 
the lighted highways with their electric signs. In 
The Plaza—Nocturne the view is toward the west; 
in Queensboro Bridge—Nocturne it is eastward. The 
artist had by this time (1910-1919) become trained 
to remember his impressions, with the aid perhaps 
of written notes, and these pictures show that he 
had reached complete maturity, as is plainly evident 
in his latest landscapes, no longer sitting down 
before nature and rendering facts, whether realisti- 
cally or otherwise. 


The portraits form a long list, and whether of men 


XV1I1 


INTRODUCTION 


or of women they always possess an air of distinc- 
tion. The Two Sisters, a large canvas, a picture of 
two ladies in three-quarters length, standing, is one 
of the best works to cite as an example, typifying 
all; for not only are there inherent grace and charm 
but there is also good style as painting. There is no 
need to be told that these two figures are ladies. The 
picture tells you that at a glance. In another por- 
trait, that of the artist, Ryder—one of the best can- 
vases in the large portrait collection of the National 
Academy of Design—there is a sympathetic por- 
trayal of character as well as an all-encompassing 
manner of rendering by simple means, the result of 
searching the way, that makes it necessary to speak 
of it in any review of Weir's accomplishment. When 
this portrait has been intelligently observed, the 
beholder should get an insight into the fine quality 
of Weir’s painting in general and understand, at 
least in some measure, what it means when a painter 
is always a student and always himself. 

There are so many Weir landscapes that they can 
not be commented on in detail, but a few may be 
mentioned as showing his march toward the final 
and best achievement. Among them are, of course, 
Plowing for Buckwheat, a widely known picture, 
and Upland Pasture, a hillside with boulders, the 


foreground in shadow, a line of trees on the hilltop. 


xVill 


JULIAN ALDEN WEIR 


The latter picture is like a sign-post directing the 
way to what was to come, because there are indica- 
tions in it, especially in its color quality, of the 
later phase of his work. One spring day in 1897, 
when the Society of American Artists had its own 
home and galleries in the Fine Arts Building on 
West Fifty-seventh Street, nine years before the 
merger with the Academy, there was placed on the 
easel before the jury The Factory Village, and the 
jury acclaimed it with shouts of delight and much 
hand-clapping. There is a great, wide-spreading oak 
in full foliage in this picture, a forerunner of other 
trees in the later series of landscapes. It still well 
holds its own. 

Now, it is always interesting to forecast, and 
painters are given to talking among themselves of 
which men’s work will last and whose will be for- 
gotten, and I am inclined to think not only that his 
later landscapes have not been placed high enough 
in the whole of Weir’s work of all periods, but also 
that they will more fully meet in the future the 
severest tests of those qualified to pass judgment 
than any others; they are in themselves so beautiful 
and so satisfying. Such landscapes as The Spreading 
Oak, Pan and the Wolf, or The Return of the Fish- 
ing Party, these and others of like motive and treat- 
ment, with high-reaching, full-foliaged trees and 


X1x 


INTRODUCTION 


blue skies with a cloud or two, seem to me the 
flowering of a fine talent in its fullest expression. 
There is a distinctive scheme of color in them all 
and an equally distinctive sort of rendering. The 
foliage is a sober green, qualified as it appears in 
sunlight or in shadow, a parti-pris of restrained 
tints; and the skies are a tempered blue, never daz- 
zling, always somewhat grayed, harmonizing per- 
fectly with the equally tempered greens, and when 
a white cloud is seen it is of sufficient brilliancy but 
it is not a note that sings too high. The composition 
is stately and well-balanced, the technique is frank 
and sure. These landscapes are pictures, as are those 
of Corot and of Rousseau. They are not mere tran- 
scriptions, and they have been painted after a long 
life of study, observation, and reflection. No land- 
scape painter worthy of the name in its best sense 
has worked differently, nor could any have done 
what they have in any other way. How good it is to 
reflect that the last phase of a painter’s achievement 
is a blossoming of beauty at the end of years devoted 
to finding by constant endeavor that which is best 
worth while! 
-* * *£ * 

Weir was an accomplished painter in the water- 
color medium. Two Dogs (1885) and Fireside Dreams 
(1887), a series of English subjects in 1913, other 


xX 


JULIAN ALDEN WEIR 


sheets in Holland and Venice, all testify not only to 
his skill in the handling but to his individual qual- 
ity as well. He was an etcher also, as are a good 
many painters, and the impressions from his plates 
are notable in numerous cases for fine blacks of vary- 
ing intensity in contrast to half-tones and discreet 
high lights. Christmas Greens and The Little Student 
will exemplify these qualities, while Coon Alley, 
for instance, shows his simple, effective use of line. 
In the spring of 1921 a memorial exhibition of his 
etchings was given at the Metropolitan Museum 
and there is a catalogue of one hundred and twenty- 
three numbers entitled An Essay towards a Cata- 
logue Raisonné of the Etchings,.Dry-Points, and 
Lithographs of Julian Alden Weir, by Agnes Zim- 
mermann of the Print Room Staff. There is a com- 


prehensive permanent collection in the Museum. 


Julian Alden Weir, who, born at West Point, New 
York, August 30, 1852, died in the City of NewYork, 
December 8, 1919, was a member of the Society of 
American Artists and one of the ‘‘Ten American 
Painters’’ who seceded from it in the nineties. 
Elected an Academician in 1886, he was president of 
the National Academy of Design for the three years, 


1915-1917, and was a member of the American 


XXxi 


INTRODUCTION 


Water-Color Society and of the American Academy 
of Arts and Letters. His medals and other honors 
received for his works form a long and important 
list. His presidency of the National Academy may 
well serve as an example of his conscientious and 
unselfish devotion to the interests of American art; 
for, though his health at the time was failing, his 
sense of responsibility was so genuine that he often 
shouldered duties that another might have shifted 
to other officers. I am glad that I have the oppor- 
tunity in writing this foreword to record my tribute, 
in which I feel sure that I speak for all of us who 
knew him, to his high achievement as an artist and 


his virile and endearing qualities as a man. 


Wi1LLiIAM A. CoFFIN 


XXil 


CATALOGUE 


PAINTINGS IN OIL 


Arranged in chronological order with dates 
approximate or exad. 


t JEUNE FILLE 1875 
Oil on panel: h. 14; w. 1034 inches. Signed and dated: 
J Alden Weir 75. UWlustrated. 
Lent by Mrs. J. Alden Weir. 


2 PORTRAIT OF ROBERT W. WEIR 1879 


Oil on canvas: h. 4578; w.36%%4 inches. Illustrated. 
Lent by Mrs. J. Alden Weir. 


3 ROSES 1882 
Oil on panel: h. 14; w.934 inches. Signed and dated: 
J Alden Weir 1882. 
Lent by Miss A. M. Dodsworth. 


4 THE MOTHER 1884 
Oiloncanvas: h.4414; w.34%4 inches. Monogrammed 
and dated: JAW ’84. Illustrated. 

Lent by Mrs. Lloyd Williams. 


5 THE MUSE OF MUSIC 1882-1884 


Oiloncanvas: h. 44; w.3 44 inches. Signed and dated: 
J Alden Weir 82-84. 
Lent by the Lotos Club. 


IO 


If 


I2 


THE METROPOLITAN MUSEUM OF ART 


AGAINST THE WINDOW 1884 
Oil on canvas: h.3574; w.287% inches. Signed and 
dated: J Alden Weir 84. Illustrated. 

Lent by Mrs. George Page Ely. 

PORTRAIT OF A CHILD 1887 
Oil on canvas: h. 4918; w.36 inches. Signed and dated: 

J Alden Weir 1887. Illustrated. 

Lent by Mrs. J. Alden Weir. 


CHRYSANTHEMUMS - 1888 
Oil on canvas: h.1274; w. 18% inches. Signed and 
dated: J Alden Weir 1888. 

Lent by Miss A. M. Dodsworth. 


PHEASANTS 1889 
Oil on panel: h. 1734; w.30 inches. Initialed and dated: 
JAW 8 @) 

Lent by Childe Hassam. 

ROSES 1880-1889 
Oil on canvas: h.2434; w.1554 inches. Signed and 
dated: J Alden Weir 80 (2) 

Lent by Edwin C. Shaw. 


ROSES 1880-1889 
With Donatello relief in background. 

Oil on canvas: h.3514; w.2434 inches. Illustrated. 

Lent by the Phillips Memorial Gallery. 

CHILDREN BURYING A BIRD 1880-1889 


Oil on canvas: h.22; w. 18 inches. Signed: J] Alden 
Weir. Illustrated. 
Lent by F.K.M.Rehn. 


a3 


14 


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16 


iF 


18 


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20 


THE WORKS OF JULIAN ALDEN WEIR 


THE HUNTER 1880-1889 
Oil on canvas: h.70; w. 40 inches. Illustrated. 
Lent by Mrs. J. Alden Weir. 


ROSES 1880-1889 
Oil on canvas: h. 84; w. 10 inches. 

Lent by Emil Carlsen. 

A CONNECTICUT FARM 1880-1889 


Oil on canvas: h.35; w.45 inches. Signed: J Alden 
Weir. Ulustrated. 
Lent by Albert E. McVitty. 


THE CHRISTMAS TREE 1880-1889 
Oil on canvas:h. 3634; w. 3534 inches. Signed: J Alden 
Weir. Ulustrated. 

Lent by Mrs. J. Alden Weir. 


GRAY JAR WITH FLOWERS 1880-1889 
Oil on panel: h. 1914; w. 1156 inches. 
Lent by Mrs. George Page Ely. 


FRUIT 1880-1889 
Oil on canvas: h.21%; w.171% inches. Illustrated. 
Lent anonymously. 


A MISTY DAY—AUTUMN Late eighties 
Oil oncanvas:h.2178; w. 3234 inches.Signed: J Alden 
Weir. 

Lent by Mrs. J. Alden Weir. 


PORTRAIT OF A LADY WITH A 
VENETIAN VASE 1891 


Oil on canvas: h.36; w.29 inches. Signed and dated: 
J Alden Weir 1891. Ulustrated. 
Lent by Mrs. J. Alden Weir. 


3 


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yey 


2 


24 


+5 


26 


2%] 


THE METROPOLITAN MUSEUM OF ART 


BRANCHVILLE BARNYARD 1893 
Oil on canvas : h. 3376; w.24% inches. Signed and 
dated: J Alden Weir 93 (?) Illustrated. 

Lent by Mrs. Charles E.Greenough. 

FARM IN WINTER 1894 
Oil on canvas: h.20; w.24 inches. Signed and dated: 

J Alden Weir 94. 

Lent by Charles V. Wheeler. 

BABY CORA 1894 
Oil on canvas: h.70; w. 40 inches. Signed and dated: 

J Alden Weir 1894. Inscribed: pasy cora. Illustrated. 
Lent by Mrs. J. Alden Weir. 

AN AUTUMN STROLL 1894 
Oil on canvas: h.70; w. 40 inches. Illustrated. 

Lent by Mrs. J. Alden Weir. 

THE FACTORY VILLAGE 1897 


Oil on canvas: h.29; w.38 inches. Signed and dated: 
J Alden Weir 1897. Illustrated. 
Lent by Mrs. J. Alden Weir. 


THE GRAY BODICE 1898 


Oil on canvas: h.30; w.25 inches. Signed and dated: 
Alden Weir. 1898. Illustrated. 
Lent by The Art Institute of Chicago. 


THE BLACK HAT 1898 


Oil on panel: h. 30; w. 1734 inches. Signed and dated: 
J Alden Weir 1898. Illustrated. 
Lent by Miss Dorothy Weir. 


4 


28 


Sa 


30 


31 


32 


Be 


34 


35 


THE WORKS OF JULIAN ALDEN WEIR 


THE DONKEY RIDE 1899 


Oil on canvas: h.501; w. 40% inches. Illustrated. 
Lent by Mrs. J. Alden Weir. 


IN THE SUN 1899 
Oil oncanvas:h.34;w.267£ inches. Signed and dated: 

J Alden Weir 1899. Illustrated. 

Lent by Mrs. J. Alden Weir. 


THE TWO SISTERS 1890-1899 
Oil oncanvas:h. 4938; w. 3934 inches. Signed: J Alden 
Weir. Ulustrated. 

Lent by Mrs. Marshall Field, Sr. 


AN ALSATIAN GIRL 1890-1899 
Oil on canvas: h. 24; w. 18 inches. Signed: J Alden 
Weir. Ulustrated. 

Lent by the Phillips Memorial Gallery. 


PLOWING FOR BUCKWHEAT 1890-1899 
Oil on canvas: h. 47; w. 323% inches. Signed: J Alden 
Weir Branchville Conn. 

Lent by the Carnegie Institute. 


THE RED BRIDGE 1890-1899 
Oil on canvas: h.243°5; w. 3334 inches. Signed: J Alden 
Wear. 

Property of The Metropolitan Museum of Art. 


THE GREEN BODICE 1890-1899 
Oil on canvas: h. 3334; w.24% inches. 
Property of The Metropolitan Museum of Art. 


A BASKET OF LAUREL 1890-1899 
Oil oncanvas:h.3358;w.24) inches. Signed: J Alden 
Weir. 

Lent by Mrs. J. Alden Weir. 


5 


36 


37 


38 


39 


40 


AI 


42 


THE METROPOLITAN MUSEUM OF ART 


PORTRAIT OF ALBERT P. RYDER 1903 


Oil on canvas: h.24; w.20 inches. Ilustrated. 
Lent by the National Academy of Design. 


UPLAND PASTURE 1905 
Oil oncanvas:h. 4058;w.50/4 inches. Signed: J Alden 
Weir Branchville. Ulustrated. 

Lent by The National Gallery of Art. 


THE GENTLEWOMAN 1906 
Oil on canvas: h.30; w.25)% inches. Signed: J Alden 
Wear. 

Lent by The National Gallery of Art. 

THE BUILDING OF THE DAM 1908 
Oil on canvas: h.30; w.4o inches. Signed: J Alden 
Weir. Illustrated. 

Lent by the Phillips Memorial Gallery. 

THE HUNTER’S MOON 1909 


Oil on canvas: h. 51; w. 40 inches. 
Lent by Colonel C.E.S. Wood. 


THE ROSE PINK BODICE 1909 


Oil on canvas: h.30; w.25 inches. Signed: J Alden 
Weer. 
Lent by Mrs. J. Alden Weir. 


AUTUMN DAYS 1900-1909 


Oil on canvas: h.29; w.3936 inches. Signed: J Alden 
Weir. 
Lent by Horatio S. Rubens. 


6 


THE WORKS OF JULIAN ALDEN WEIR 


43 BLACK BIRCH ROCK 1900-1909 
Oil on canvas: h.23; w.27 inches. Signed: J Alden 
Weir. 

Lent by Charles Lansing Baldwin. 

44 THE ORCHID 1900-1909 
Oil oncanvas:h.2414;w.2o0l4 inches. Signed: J Alden 
Weir. Illustrated. 

Lent by Frank L. Babbott. 

45 A REVERIE 1900-1909 
Oil on canvas: h.34; w.27 inches. Signed: J Alden 
Weir. : 

Lent by Charles V. Wheeler. 

46 JUNE 1900-1909 
Oil on canvas: h.24; w.3234 inches. Signed: J Alden 
Wear. . 
Lent by Paul Schulze. 

47 RETURN OF THE FISHING PARTY 1900-1909 
Oil on canvas: h.23; w..28 inches. Inscribed: J Alden 
Weir by E. B. Weir. Illustrated. 

Lent by William Macbeth. 

48 VISITING NEIGHBORS 1900-1909 
Oil on canvas: h.2434; w.34 inches. Signed: J Alden 
Weir. Ulustrated. 

Lent by the Phillips Memorial Gallery. 
49 EARLY SPRING 1900-1909 (?) 


Oil on canvas: h.24; w.20 inches. Signed: J Alden 
Weir. 
Lent by Edwin C. Shaw. 


7 


50 


5i 


52 


53 


4 


55 


56 


THE METROPOLITAN MUSEUM OF ART 


THE HIGH PASTURE 1900-1909 


Oil on canvas: h.24; w.3334 inches. Signed: J Alden 
Weir. Inscription illegible. 
Lent by the Phillips Memorial Gallery. 


A CONNECTICUT GRAINFIELD 1900-1909 


Oil on canvas: h.29; w.36 inches. Illustrated. 
Lent by Mrs. J. Alden Weir. 


PEACOCK FEATHERS 1900-1909 


Oil on canvas: h.25; w.30 inches. Signed: J Alden 
Weer. 
Lent by William Macbeth. 


GIRL IN PROFILE 1912 


Oiloncanvas:h.3314;w.24 inches. Signed: J Alden 
Weir. 
Lent by Mrs. J. Alden Weir. 


NASSAU—BAHAMAS 1914 


Oil oncanvas:h.32;w.357% inches. Signed and dated: 
J Alden Weir ror4. Ulustrated. 
Lent by Horatio S. Rubens. 


THE OLD SENTINEL ON THE FARM I9I5 


Oil on canvas: h.3734; w.29 inches. Signed: J Alden 
Weir. : 
Lent by John F. Braun. 


A HARMONY IN YELLOW AND PINK 1016 


Oil on canvas: h.30; w.25 inches. Signed: J Alden 
Weir. 
Lent by John F. Braun. 


57 


58 


59 


60 


61 


62. 


63 


THE WORKS OF JULIAN ALDEN WEIR 


A FOLLOWER OF GROLIER 1916 
Oil on canvas: h.393;w.32)4 inches. Signed: J Alden 
Weir. Ulustrated. 

Lent by The Detroit Institute of Arts. 


IMPROVISING BRAY hy 
Oil on canvas: h.34; w.29 inches. Signed: J Alden 
Weir. Illustrated. 

Lent by Mrs. J. Alden Weir. 


APPLE-TREE IN BLOSSOM I9IO-1919 
Oil on canvas: h.25; w.30 inches. Signed: J Alden 
Weer. 

Lent by Mrs. J. Alden Weir. 


QUEENSBORO BRIDGE—NOCTURNE 
I9IO-1919 

Oil on canvas: h. 2878; w. 3934 inches. Signed: Alden 

Wer. Ulustrated. 

Lent by Horatio S. Rubens. 


THE PLAZA—NOCTURNE IQIO-1919 
Oil oncanvas:h.2874; w. 3934 inches. Signed: J Alden 
Weir. Ulustrated. 

Lent by Horatio S. Rubens. 


ON THE SHORE _ I9IO-1919 
Oil on canvas: h.25; w.30 inches. Signed: J Alden 
Weir. Illustrated. 

Lent by Horatio S. Rubens. 


PUSSY WILLOWS 1910-1919 
Oiloncanvas:h.3376;w.257éinches. Signed: J Alden 
Weir. Ulustrated. 

Lent by Mrs. James Wall Finn. 


9 


64 


65 


66 


67 


68 


69 


7O 


THE METROPOLITAN MUSEUM OF ART 


THE BACK LOTS I9IO-1919 
Oil oncanvas:h.2334;w.3334 inches. Signed: J Alden 
Weir. 

Lent by Mrs. J. Alden Weir. 


THE: LETIER I9QIO-1919 
Oil on canvas: h.30; w.25 inches. Signed: J Alden 
Wezr. Illustrated. 

Lent by Horatio S. Rubens. 


THE LACE MAKER 1910-1919 
Oil on canvas: h.3014; w.25 inches. Signed: J Alden 
Weir. | 7 

Lent by Paul Schulze. 


KNITTING FOR SOLDIERS I9IO-1919 
Oil on canvas: h.30; w.25 inches. Signed: J Alden 
Weir. 

Lent by the Phillips Memorial Gallery. 


PAN AND THE WOLF 1910-1919 
Oil on canvas: h.35; w.24%4 inches. Signed: J Alden 
Werr. 

Lent by the Phillips Memorial Gallery. 


THE BORDER OF THE FARM I9IO-1919 
Oil on canvas: h.50; w.39% inches. Signed: J Alden 
Weir. 

Lent by Mrs. Robert C. Vose. 


THE SPREADING OAK I9IO-1919 
Oil on canvas: h.39; w. 50 inches. 


Lent by Colonel C.E.S. Wood. 


IO 


71 


72 


73 


74 


75 


76 


77 


THE WORKS OF JULIAN ALDEN WEIR 


PORTRAIT OF COLONEL H.C.WEIR 1910-1919 
Oil on canvas: h.30; w.25 inches. Signed: J Alden 
Weir. Ulustrated. 

Lent by Colonel H.C. Weir. 


THE FISHING PARTY IQIO-1919 


Oil on canvas: h.28; w.23 inches. Signed: J Alden ~ 
Weir. Illustrated. 
Lent by the Phillips Memorial Gallery. 


WHITE OAKS 1910-1919 


Oil on canvas: h.30; w.25 inches. Signed: J Alden 
Weir. 
Lent by Edwin C. Shaw. 


WOODLAND ROCKS 1910-1919 
Oil on canvas: h.28; w.36inches. Signed: J Alden 
Weir. 

Lent by the Phillips Memorial Gallery. 

THE PEACOCK FEATHER I9IO-1919 


Oil on canvas: h.30;w.25 inches. Signed: J Alden 
Weir. 
Lent by Edwin C. Shaw. 


AN AMERICAN GIRL I9IO-1919 
Oil on canvas: h.36; w.28 inches. Illustrated. 

Lent by the Worcester Art Museum. 

PILE LIZZIE LYNCH 1910-1919 


Oiloncanvas:h.29/8;w.247 inches. Signed: [Alden 
Weir. 
Lent by Mrs.H.M. Adams. 


Il 





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18 
19 


WATER-COLORS AND DRAWINGS 


SHEEP, lent by Mrs.J. Alden Weir 

Kirty, lent by Mrs. J. Alden Weir 

On THE Avon, lent by Mrs. J. Alden Weir 

Winpy Day, lent by Charles Lansing Baldwin 

THE Frower, lent by Mrs. George Page Ely 

In THE Liprary, lent by Mrs. William E. Carlin 

Two Dogs, lent by Mrs. J. Alden Weir 

Woman Sewine, lent by Mrs. William E. Carlin 

Passinc Sorrow, lent by Mrs. J. Alden Weir 

FirESIDE Dreams, lent by Mrs. J. Alden Weir 

PortraiTor ALapy, lent by the Ferargil Galleries 

On THE THames, New Lonpov, lent by the Ferargil 
Galleries 

Tue Letter, lent by the Ferargil Galleries 

THE LANDING, New Lonpon, lent by the Ferargil 
Galleries 

Cioups, lent by Mrs. William E. Carlin 

BeLtow Twyrorp Bripcez, lent by Mrs. George 
Page Ely 


On THE Banks oF THE ItcHEN, lent by Mrs. J. 
Alden Weir 


Giri In Pink Dress, lent by John H. Niemeyer. 
Oxp SENTINELS ON THE ITcHEN, lent by Miss 


Dorothy Weir 
a3 


THE METROPOLITAN MUSEUM OF ART 


20 Enouish Lanpscapz, lent by Mrs. William E. 
Carlin 
21 Trers AND Barn, lent by Charles Lansing Baldwin 


22 Snore Scene, lent by Edwin S. Chapin 


14 


Oo On ow f Ww PP 


=S Ss + SH + FS HF SF SHS S&S 
oy SY ON A, BR 


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O 


219 § 
2:2. 
23 
24 


PRINTS 


Unless otherwise stated the prints are the 


property of the Museum. 
Tue GuiTarR Prayer Zimmermann, 31 Cam) 
Rzertections No. 1 LL 
Gyp AND THE Gipsy Z. 48 
Lrrrtze Portrait No.1—Younc Woman Z. 44 
By CANDLELIGHT wig 
Tue Lirrie STUDENT Z. 54 1) 
Dutcu ScHnapps Z. 99 
Portrait oF Dr. R. F. WEIR Z. 58 Cv) 
Portrait oF JoHN F. Weir Z. 60 (a1) 
ARCTURUS Zoe Vv) 
WasHINGTON ArcH No. 2 Z. 75 (a) 
THe STONE BRIDGE Z. 85 
WILLows Zit 
THe Wess FarM Z. 88 1) 
RoscorE’s Barn Z. 89 
NEIGHBORING Farm Oia 
My Bacx Yarp No. 1 LZ. 76 
Tue STATuE or Liperty Z. 73 
BLACKSMITH’s SHOP Z.. 8% GY) 
Coon ALLEY Z. 82 Can) 
STANDING Ficure No. 1 AAS 
Bas Meupon No. 1 Z. 100 
Bas Meupon No. 2 Z. 101 
LivEervoot Docks Z. 103 


a, 


THE METROPOLITAN MUSEUM OF ART 


25 
26 
27 


28 
29 


30 


31 


32 


Tuer EveninGc Lamp PBS ES, 


GLEBE FarmM—Isiz or MAn 
FisHERMAN’s Hut oN THE Hitt—Isie 
or Man 
Boats AT Port ErR1N—IsLE or MAN 
CurIsTMAS GREENS 
Lent by Mrs. J. Alden Weir 
Caste Rusnen—Istz or Man 
Lent by Mrs. J. Alden Weir 
Docs on THE HEartu No. I 
Lent by Mrs. J. Alden Weir 
MoTHER AND INFANT 


Lent by Mrs. J. Alden Weir 


16 


PORE Fe 
Lin EEF 
Z. 110 
Lind 
Zul 
Z. 96 


Lam 





I 


JEUNE FILLE 





2s 


PORTRAIT OF ROBERT W. WEIR 





4 


THE MOTHER 


— 





AGAINST THE WINDOW 





PORTRAIT OF A CHILD 





Il 


ROSES 





12 


CHILDREN BURYING A BIRD 





13 


THE HUNTER 





t) 


A CONNECTICUT FARM 





16 
THE CHRISTMAS TREE 





8 
FRUIT 


J 





Zo) 


PORTRAIT OF A LADY WITH A VENETIAN VASE 





21 


BRANCHVILLE BARNYARD 





oe 


BABY CORA 





24 
AN AUTUMN STROLL 





735 


THE FACTORY VILLAGE 





Copyright by the Art Institute of Chicago 


26 


THE GRAY BODICE 





i 


THE BLACK HAT 





28 


THE DONKEY RIDE 





a) 
IN THE SUN 





O 


3 
THE TWO SISTER 


S 





E 


3 
N ALSATIAN GIRL 


A 








RYDER 


PORTRAIT OF ALBERT P. 





a7 
UPLAND PASTURE 





ww 


THE BUILDING OF THE DAM 





44 


THE ORCHID 





an) 


RETURN OF THE FISHING PARTY 





VISITING NEIGHBORS 





4,2 


A CONNECTICUT GRAINFIELD 





54 


NASSAU——-BAHAMAS 





dis 


A FOLLOWER OF GROLIER 





V ap 


{PROVISING 


IN 





60 


QUEENSBORO BRIDGE—NOCTURNE 





THE PLAZA—NOCTURNE 





62 


ON THE SHORE 





PUSSY WILLOWS 





THE LETTER 





va! 
PORTRAIT OF COLONEL H.C. WEIR 








T= 
THE FISHING PARTY 





AN AMERICAN GIRL 


INDEX 


Only the paintings in oil are lifted. 


NUMBER 


Against the Window 
Alsatian Girl, An 
American Girl, An 


Apple-tree in Blossom 
Autumn—A Misty Day 


Autumn Days 
Autumn Stroll, An 
Baby Cora 
Back Lots, The 
Bahamas—Nassau 
Basket of Laurel, A 
Black Birch Rock 
Black Hat, The 


Border of the Farm, The 


Branchville Barnyard 


6 Donkey Ride, The 
31 . Early Spring 
76 Factory Village, The 
59 Farmin Winter 
19 Fishing Party, The 
42 Follower of Grolier, A 
24 Fruit 
23 Gentlewoman, The 
64 Girlin Profile 
54 Gray Bodice, The 
35 Gray Jar with Flowers 
43 Green Bodice, The 
27 Harmony in Yellow 
69 and Pink, A 
21 High Pasture, The 


Building of the Dam,The 39 Hunter, The 


Child, Portrait of a 


7 Hunter's Moon, The 


Children Buryinga Bird 12 Improvising 


Christmas Tree, The 
Chrysanthemums 
Connecticut Farm, A 


Connecticut Grain- 
field, A 


16 IntheSun 
8 Jeune Fille 
th. ac. 
Knitting for Soldiers 
51 Lace Maker, The 


ad 


INDEX 


Lady with a Venetian 
Vase, Portraitofa 20 
Letter, The 65 
Little Lizzie Lynch 77 
Misty Day, A—Autumn 19 


Mother, The 4 
Muse of Music, The 5 
Nassau—Bahamas 54 


Nocturne—The Plaza 61 


Nocturne—Queensboro 


Bridge 6o 
OldSentinel ontheFarm 55 
On the Shore 62 
Orchid, The 44 
Pan and the Wolf 68 
Peacock Feather,The 75 
Peacock Feathers 52 
Pheasants 9 


Plaza, The—Nocturne 61 
Plowing for Buckwheat 32 


Portrait of Albert 

P. Ryder 36 
Portrait of a Child 7 
Portrait of Colonel 


H.C. Weir 7% 


NUMBER 


Portrait of a Lady with 
a Venetian Vase 20 
Portrait of Robert 


W. Weir 1 
Pussy Willows 63 
Queensboro Bridge— 

Nocturne 60 
Red Bridge, The 33 
Return of the Fishing 

Party 47 
Reverie, A 45 
Rose Pink Bodice, The 41 
Roses 3,10, 11,14 
Ryder, Albert P., Por- 

trait of 36 
Spreading Oak, The 70 
Two Sisters, The 30 
Upland Pasture 37 


Visiting Neighbors 48 
Weir, Colonel H.C., 


Portrait of wis 
Weir, Robert W., Por- 

trait of 2 
White Oaks 73 
Woodland Rocks 74 








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at the Printing House of William E, 





one thousand copies have been 

















Mount Vernon, New York 




















